Denna studies syfte och frågeställningar handlar om hur personalen på tre olika fritidshem i tre olika kommuner beskriver att de arbetar i förebyggande arbete mot kränkande behandling och diskriminering. I studien undersöks även huvudmannens roll inom samma arbete. I Skollagen (2010:800) står det att varje enhet ska ha en plan för åtgärder mot kränkande behandling och diskriminering, våra egna erfarenheter är att arbetet kan variera och att det inte finns specifika direktiv för hur arbetet ska ta sig uttryck. Av denna anledning undersöker vi hur pedagogerna själva säger sig arbeta förebyggande, vilka förutsättningar de anser viktiga och vilka metoder de använder. För att undersöka hur personalen beskriver sitt förebyggande arbete mot kränkande behandling och diskriminering använder studien sig av en policy enactment teori. För att undersöka huvudmannens roll i samma arbete har studien använt sig av en nyinstitutionell teori. Metoden som använts i studien är kvalitativ innehållande semi-strukturerade intervjuer med pedagoger och nyckelpersoner som har kunskap om huvudmans arbete. Det resultat som studien visar är att personalen ser det förebyggande arbetet som viktigt och att fritidspedagogerna anser sig ha en stark yrkesroll för att främja arbetet. De starka sidor pedagogerna beskriver är helhetssynen av eleverna, deras arbete med sociala relationer och konflikthantering. I de olika fritidshemmen fanns flera likheter och skillnader som beskriver hur personalen arbetade med det förebyggande arbetet. En likhet var vilka förutsättningar som personalen ansåg som viktiga för att skapa ett bra förebyggande arbete och en skillnad är de olika program som fritidshemmen använde sig av.

This thesis is concerned with extending the role that live performance might play in our understanding of the work of the interrelated avant-garde performance communities that emerged in New York in the 1960s and early 1970s. This is a practice-led project that uses my own performance work as the site of its enquiry. In the last decade performance itself has begun to play a significant role in our understanding of and relationship to past performances, in the main through the increasing pervasion of re-enactment as an acknowledged historiographical trope. However, as a consequence of its association with re-enactment, the nature of the historiographical role afforded to performance is still primarily determined by its proximity to the archive and institutionalised modes of performance history. Challenging the primacy of the re-enactment as a means of embodied engagement with past performance, this research project explores how manipulation of my own performance practice might generate new forms of historical knowledge. In particular my focus is on using this practice to develop a new understanding of how the work of this earlier period altered y the experience of the urban landscape for those participating in the work, audience and performers alike. Structured around a rigorous analysis of three specific works from across this earlier period, I conceived a series of spatial ‘blueprints’ that were applied to my practice to create three new performance pieces. Using my own research and practice to renegotiate the relationship between live performance and the archive, I demonstrate the possibility for a new historiographical approach to past performance. This approach emphasises the role of the participants in the performance as generators of an alternative form of historical understanding embedded in ways of operating in the city.

The issue of Jewish minorities especially during the time of WW2 was discussed many times already. In a number of sources is relatively accurately captured the political situation and the gradual elimination of Jews from society, not to mention the persecution itself. This topic has me wondering about since I was about Jews and World War 2 learned. Already in elementary school I was reading children's encyclopedias most this topic and still could not understand how something like this could happen. What I got older, the more information I investigated, but still without understanding the causes why the Jews, whom you made that had so cruelly ended, and again and again the same question, how is it possible that this could happen in the recent past? ? Thesis Theme for me was clear because of that. I had quite a lot of information about Jewish life during the war, but I did not know too much about their origin and especially fascinated by the origins of their control what circumstances preceded the war. As a basis for a complete understanding of all contexts, in my opinion, necessary to start from the beginning. Who are the Jews, where they were married, where they came from, who they were, what they ate and how they are treated as a minority. After finding this information, for me it...

Small business entrepreneurs face high failure rates, yet the success of local, state, and national economies relies on the success of small business. With a lack of capital commonly cited as a reason for failure, entrepreneurs must find ways to predict business survival. Grounded in pecking order and enactment theory, the purpose of this correlational study was to examine the efficacy of bootstrap financing and numbers of employees in predicting business survival, measured by the business age. The research question was answered by using a predictive correlational quantitative research method with a cross-sectional survey design. The central question was whether the amount of bootstrapping financing, measured by a bootstrapping survey, and numbers of employees significantly predicts firm success, measured by firm age in years. Study participants (n = 111) were owners of small businesses in the state of New Hampshire who had been in business for a minimum of 5 years. The results of the multiple linear regression analysis indicated that bootstrap use and number of employees did not significantly predict business survival. Results indicate support for the pecking order theory of financing with minimal evidence of entrepreneurs enacting their environment. The majority of entrepreneurs surveyed used at least one method of bootstrap finance to support the business. Bootstrapping methods with the highest rate of use were offering the same conditions of all customers, negotiating the best payment terms with suppliers, and buying used equipment over new equipment. The implications for positive social change include the potential to provide New Hampshire small business entrepreneurs with information for making informed financial decisions and creating financial models.

This study elevates the importance of experience, the senses and tacit knowledge in relation to archaeology with a focus on music. With this I take up a thread drawing on theoretical aspects of Polanyi’s ‘Tacit Dimension’ and ‘Ingold’s Lines’.  I review paradigms in experimental archaeology and music archaeology, and the subject of reconstruction in both.  My case study is of four individuals, whose reconstruction models are connected to artefacts perceived as flutes in the archaeological record and/or notions of prehistoric flutes.  Combining the way in which we learn by understanding others’ experiences through gesture and experience as data, my work examines these ideas in relation to wanting to find out about these flute-making people, and how their work is related to the canon of archaeology to which one might expect that it belongs, and if we can call this a tradition.  What I found was that the praxis is complex and far reaching and stretches into various ontologies through philosophy, religion, emotionalism, intellectualism, symbolism, music, tradition, imagination, experience, sensation and identity, where interrelations of the past, present and future are very evident.  I finally consider archaeology as an art which reveals parallels between archaeology itself and music.  Paradigms in archaeologies in 2013 do not effectively support this praxis of flute making despite contextual experimentation showing welcoming promise for future change.

This thesis considers Seven Easy Pieces, Marina Abramović’s 2005 cycle of re-performances at the Guggenheim Museum, as part of a broader effort to recuperate the art of the 1960s and 1970s. In re-creating canonical pieces known to her solely through fragmentary documentation, Abramović helped to bring into focus how performances by Joseph Beuys, Bruce Nauman, Gina Pane, Vito Acconci, Valie Export, and herself were being re-coded by the mediating institutions. Stressing the production of difference, my analysis revolves around two of the pieces in detail. First, the Deleuzian insight that repetition produces difference sheds light on the artist’s embellishment of her own Lips of Thomas (1975) with a series of Yugoslav partisan symbols. What follows is an examination of the enduring role of this iconography, exploring the 1970s Yugoslav context as well as the more recent phenomenon of “Balkan Art,” an exhibition trend drawing upon orientalizing discourse. While the very presence of these works in Tito’s Yugoslavia complicates the situation, I show how the transplanted vocabulary of body art may be read against the complex interweaving of official rhetoric and dissident activity. I focus on two distinct interpretations of Marxism: first, the official emphasis on discipline and the body as material producer, and second, the critique of the cult of personality as well as dissident notions about the role of practice in social transformation. It is in this sense that a distinctly spiritualist vocabulary also acquires a political dimension in drawing upon movements such as Fluxus and Neo-Dada, and underscoring the value of the immaterial and the non-productive. Finally, I explain how a reversal of Slavoj Žižek’s tripartite structure of ideology can help to articulate how a repetition of Beuys’s actions in this context actually displaces their cosmological aspect by virtue of the re-enactment setting alone.